bruvāṇe 'pi tu tatra dharmaṁ dharmaṁ prati jñātiṣu
even when the Sage was there speaking the dharma, and
even though other family members heeded the dharma,
madanaika-kāryaḥ priyā-sahāyo vijahāra nandaḥ // 4.1 //
passed the time in the company of his wife, staying in the palace
penthouse, solely occupied with love.
cakravākyeva hi cakravākas-tayā sametaḥ priyayā priyārhaḥ /
joined with his wife like a greylag gander with a greylag goose,
and fitted for love,
vaiśramaṇaṁ na śakraṁ tat-sthāna-hetoḥ kuta eva dharmam //
turned his thoughts neither to Vaiśravaṇa nor to Śakra: how much
less, in that state, did he think about dharma?
ca rūpeṇa ca sundarīti stambhena garveṇa ca māninīti /
her grace and beauty, she was called Lovely Sundarī; for her
headstrong pride, Sulky Māninī;
ca mānena ca bhāminīti yāto babhāṣe trividhena nāmnā // 4.3
for her sparkle and spirit, Beautiful Bhāminī. So that she was
called by three names.
hāsa-haṁsā nayana-dvirephā pīna-stanātyunnata-padma-kośā /
of smiles like the bars of a bar-headed-goose, of eyes like black
bees, and swelling breasts like the upward jutting buds of a lotus,
babhāse sva-kuloditena strī-padminī nanda-divākareṇa // 4.4 //
all the more, a lotus-pool in female form, with the rising of a
kindred luminary, the sun-like Nanda.
cātyanta-manohareṇa rūpānurūpeṇa ca ceṣṭitena /
with inordinately good looks, and moves to match those heart-stealing
hi tadā babhūva sā sundarī strīṣu nareṣu nandaḥ // 4.5 //
was in the human world at that time, among women, [only] Sundarī,
and among men, Nanda.
devatā nandana-cāriṇīva kulasya nandī-jananaś-ca nandaḥ /
like a goddess wandering in Indra's Gardens of Gladness,
and Nanda, the bringer of joy to his kin,
martyān-anupetya devān sṣṭāv-abhūtām-iva bhūta-dhātrā
// 4.6 //
having gone beyond mortals, and yet not become gods, to be a
Creator's creation in progress.
sundarīṁ cen-na labheta nandaḥ sā vā niṣeveta na taṁ
Nanda had not won Sundarī, or if she of the arched eyebrows had not
gone to him,
dhruvaṁ tad-vikalaṁ na śobhet-ānyonya-hīnāv-iva rātri-candrau
// 4.7 //
deprived of each other, the two would surely have seemed impaired,
like the night and the moon.
lakṣya-bhūtaṁ pramoda-nāndyor-iva nīḍa-bhūtam /
though a target
of the God of Love and his mistress Pleasure; as though a nest of
Ecstasy and Joy;
pātra-bhūtaṁ dvandvaṁ sahāraṁsta tad-andha-bhūtam// 4.8 //
though a bowl of Excitement and Contentment; blindly the couple took
their pleasure together.
eyes only for each other's eyes, minds hanging on each other's words,
parasparaṁ tan-mithunaṁ jahāra // 4.9 //
embraces rubbing away the pigments that scented their bodies, the
couple carried each other away.
giri-nirjhara-sthau tau kiṁnarī-kiṁpuruṣāv-ivobhau /
a kiṁnara meeting a kiṁnarī by a cascading mountain torrent, in
love with love,
rūpa-śriyānyonyam ivākṣipantau // 4.10 //
two of them flirted and shone, as if vying to outdo one another in
building up each other's passion, the pair gave each other sexual
'nyonya-vinodanena salīlam-anyonyam-amīmadac-ca // 4.11 //
by playfully teasing each other during languid intervals, they
gladdened each other again.
tataḥ priyāṁ sa siṣeviṣus-tāṁ na mjāvahārtham /
to cherish his beloved, he bedecked her there in finery, but not with
the aim of making her beautiful --
rūpeṇa vibhūṣitā hi vibhūṣaṇānām-api bhūṣaṇaṁ sā
// 4.12 //
she was so graced already by her own loveliness that she was rather
the adorner of her adornments.
sā darpaṇam-asya haste mamāgrato dhāraya tāvad-enam /
put a mirror in his hand; "Just hold this in front of me
yāvad-ahaṁ karomīty uvāca kāntaṁ sa ca taṁ babhāra / 4.13
I do my face," she said to her lover, and up he held it.
śmaśru nirīkṣamāṇā viśeṣakaṁ sāpi cakāra tādk /
beholding her husband's stubble she began to paint her face just like
ca darpaṇasya cikitsayitvā nijaghāna nandaḥ / 4.14 //
with a breath on the mirror, Nanda soon took care of that.
tena ceṣṭā-lalitena bhartuḥ śāṭhyena cāntar-manasā
this wanton gesture of her husband, and at his wickedness, she
ruṣṭā kila nāma tasmai lalāṭa-jihmāṁ bhru-kuṭiṁ
cakāra // 4.15 //
pretending to be furious with him, she cocked her eyebrows and
karṇotpalam-asya cāṁse kareṇa savyena madālasena /
a left hand made languid by love, she took a flower from behind her
and threw it at his shoulder;
cārdha-nimīlitākṣe vaktre 'sya tām-eva vinirdudhāva // 4.16 //
as he kept his eyes half-shut, she sprinkled over his face the
scented make-up she had been using to powder herself.
at his wife's lotus like feet, which were girt in trembling ankle
priyāyā nalinopamābhyām mūrdhnā bhayān-nāma nanāma nandaḥ
// 4.17 //
toes sparkling with nail gloss, Nanda bowed his head, in mock terror.
mukta-puṣponmiṣitena mūrdhnā tataḥ priyāyāḥ priya-kd
his head emerged from beneath the discarded flower, he made
as if to regain his lover's affections;
puṣpātibhārād-iva nāga-vkṣaḥ // 4.18 //
looked like an ornamental nāga tree, overburdened with blossoms,
that had toppled in the wind onto its golden pedestal.
taṁ stanodvartita-hāra-yaṣṭir-utthāpayām-āsa nipīḍya
him so close in her arms that her pearls lifted off from her swelling
breasts, she raised him up;
'sīti jahāsa coccair-mukhena sācī-kta-kuṇḍalena // 4.19 //
are you doing!?" she cried laughingly, as her earrings dangled
across her face.
looking repeatedly at the face of her husband, whose hand had clung
to the mirror,
kapolesamāpayām-āsa viśeṣakaṁ tat // 4.20 //
completed her face-painting, so that the surface of her cheeks was
wet with tamāla juice.
mukhaṁ tat sa-tamāla-pattraṁ tāmrādharauṣṭhaṁ
by the tamāla smudges, her face with its cherry red lips, and wide
extending to her hair,
patita-dvirephaṁ saśaivalaṁ padmam-ivābabhāse // 4.21 //
like a lotus framed by duck-weed, with crimson tips, and two big bees
settled on it.
darpaṇam-ādareṇa bibhrat-tadā-maṇḍana-sākṣi-bhūtaṁ /
now, Nanda held the mirror, which was bearing
witness to a work
laḍat-priyāyā vadanaṁ dadarśa // 4.22 //
to see the flecks she had painted, he beheld the face of his impish
was nibbled away at its edges by her earrings so that her face was
like a lotus that had suffered the attentions of a kāraṇḍava
priyāyā mukham-īkṣamāṇo bhūyaḥ priyānanda-karo babhūva
// 4.23 //
by gazing upon that face, became all the more the cause of his wife's
sa vimāna-garbhe tatas-tathā caiva nananda nandaḥ /
Nanda, inside the palace, in what almost amounted to a dishonour,
was thus enjoying himself,
bhaikṣāya tasya praviveśa veśma // 4.24 //
Tathāgata, the One Thus Come, come begging time, had entered the
palace, for the purpose of begging.
niṣpraṇayaś-ca tasthau bhrātur-ghe 'nyasya ghe yathaiva /
face turned down, he stood, in his brother's house as in any other
house, not expecting anything;
preṣya-jana-pramādād bhikṣām-alabdhvaiva punar-jagāma // 4.25
then, since due to the servants' oversight, he received no alms, he
went again on his way.
vāso 'ṅganā kā-cid-avāsayac-ca /
one woman was grinding fragrant body oils; another was perfuming
snāna-vidhiṁ tathānyā jagranthur-anyāḥ surabhīḥ srajaś-ca
// 4.26 //
likewise, was preparing a bath; while other women strung together
ghe bhartur-ataś-carantyaḥ krīḍānurūpaṁ lalitaṁ
girls in that house were thus so busy doing work to promote their
master's romantic play
buddhaṁ dadśur-yuvatyo buddhasya vaiṣā niyataṁ manīṣā
// 4.27 //
none of them had seen the Buddha -- or so the Buddha inevitably
sthitā tatra tu harmya-pṣṭhe gavākṣa-pakṣe praṇidhāya
woman there, however, on glancing through a round side-window on the
upper storey of the palace,
sugataṁ dadarśa payoda-garbhād-iva dīptam-arkam // 4.28 //
seen the Sugata, the One Gone Well, going away -- like the blazing
sun emerging from a cloud.
gauravaṁ tatra vicārya bhartuḥ svayā ca bhaktyārhatayārhataś-ca
in that moment of the importance of the Worthy One to the master of
the house, and through her own devotion to the Worthy One,
tasthau purato vivakṣus-tad-ājñayā ceti tadā-cacakṣe // 4.29
stood before Nanda, intending to speak. And then, with his
up she spoke:
janasya śaṅke gurur-ghaṁ no bhagavān praviṣṭaḥ /
show favour to us, I suppose, the Glorious One, the Guru, came into
vā śūnyād-araṇyād-iva yāti bhūyaḥ // 4.30 //
received neither alms, nor welcoming words, nor a place to sit, he is
going away, as if from an empty forest."
maharṣeḥ sa gha-praveśaṁ satkāra-hīnaṁ ca punaḥ
he heard that the great Seer had entered his house and departed again
without receiving a welcome,
citrābharaṇāmbara-srak-kalpa-drumo dhūta ivānilena // 4.31 //
in his brightly-coloured gems and garments and garlands, flinched,
like a tree in Indra's paradise shaken by a gust of wind.
mūrdhani padma-kalpaṁ tataḥ sa kāntāṁ gamanaṁ yayāce /
brought to his forehead hands joined in the shape
of a lotus bud, and then he begged his beloved to be allowed to go:
gamiṣyāmi gurau praṇāmaṁ mām-abhyanujñātum-ihārhasīti //
would like to go and pay my respects to the Guru. Please permit me,
vepamānā parisasvaje taṁ śālaṁ latā vāta-samīriteva /
she twined herself around him, like a wind-stirred creeper around a
cāśru-pluta-lola-netrā dīrghaṁ ca niśvasya vaco 'bhyuvāca //
looked at him through unsteady tear-filled eyes, took a deep breath,
and told him:
yiyāsor-guru-darśanārtham-arhāmi kartum tava dharma-pīḍām /
you wish to go and see the Guru, I shall not stand in the way of your
ca śīghram-eva viśeṣako yāvad-ayaṁ na śuṣkaḥ // 4.34 //
noble husband! But come quickly back, before this paint on my face is
khalu dīrgha-sūtro daṇḍaṁ mahāntaṁ tvayi pātayeyam /
I will punish you severely:
śayitaṁ kucābhyāṁ vibodhayeyaṁ ca na cālapeyam // 4.35 //
you sleep I shall with my breasts, repeatedly wake you, and then not
mayyeṣyasi tvaṁ tvaritaṁ tatas-tvām /
if you hurry back to me before my face-paint is dry,
bhuja-dvayena nirbhūṣaṇenārdra-vilepanena // 4.36 //
I will hold you close in my arms with nothing on except fragrant
nipīḍitaś-ca tayāsavarṇa-svanayā jagāda /
implored, and squeezed, by a dissonant-sounding Sundarī, Nanda said:
kariṣyāmi vimuñca caṇḍe yāvad gurur-dūra-gato na me saḥ
// 4.37 //
will, my little vixen. Now let me go, before the Guru has gone too
stanodvartitata-candanābhyāṁ mukto bhujābhyāṁ na tu mānasena
so, with arms made fragrant by her swollen sandal-scented breasts,
she let him go -- but not with her heart.
veṣaṁ madanānurūpaṁ tat-kārya-yogyam sa vapur-babhāra //
took off clothes that were suited to love and took on a form that
befitted his task.
taṁ prayāntaṁ ramaṇaṁ pradadhyau
contemplated her lover leaving with brooding, empty, unmoving eyes,
vyapaviddha-śaṣpā bhrāntaṁ mgaṁ bhrānta-mukhī mgīva
// 4.39 //
a doe standing with ears pricked up as she lets grass drop down; and
as, with a perplexed expression, she contemplates the stag wandering
munes-tu nandaḥ prayāṇaṁ prati tatvare ca /
his mind gripped by desire to set eyes upon the Sage, Nanda hurried
śanair-yayau tāṁ karīva paśyan sa laḍat-kareṇum // 4.40 //
then he went ponderously, and with backward glances -- like an
elephant looking back at a playful she-elephant.
pīna-payodharoruṁ sa sundarīṁ rukma-darīm-ivādreḥ /
her swelling cloud-like breasts
and [the buttresses] of her full thighs, Sundarī's lean abdomen was
like a golden fissure in a rock formation:
paśyan na tatarpa nandaḥ pibann-ivaikena jalaṁ kareṇa // 4.41
at her could satisfy Nanda no better than drinking water out of one
gauravaṁ buddha-gataṁ cakarṣa bhāryānurāgaḥ punar-ācakarṣa
for the Buddha drew him on; love for his wife drew him back:
'niścayān-nāpi yayau na tasthau turaṁs-taraṅgeṣv-iva
rāja-haṁsaḥ // 4.42 //
he neither stayed nor went, like a king-goose pushing forwards
against the waves.
tūpagataś-ca tasyā harmyāt tataś-cāvatatāra tūrṇam /
she was out of sight, he descended from the palace quickly --
tato nūpura-nisvanaṁ sa punar-lalambe hdaye ghītaḥ //
he heard the sound of ankle bracelets, and back he hung, gripped in
his heart again.
kāma-rāgeṇa nighyamāṇo dharmānurāgeṇa ca kśyamāṇaḥ
back by his love of love, and drawn forward by his love for dharma,
duḥkhena vivartyamānaḥ plavaḥ pratisrota ivāpagāyāḥ //
struggled on, being turned about like a boat on a river going against
kramair-dīrghatamaiḥ pracakrame kathaṁ nu
yāto na gurur-bhaved iti /
his strides became longer, as he thought to himself, "Maybe the
Guru is no longer there!"
tāṁ caiva viśeṣaka-priyāṁ kathaṁ priyām-ārdra-viśeṣakām
iti // 4.45 //
I after all embrace my love, who is so especially loveable, while her
face-paint is still wet?"
sa pathi dadarśa mukta-mānaṁ pit-nagare 'pi tathā-gatābhimānam
so on the road Nanda saw the One in Whom Absence Was Thus, the
devoid of pride and – even in his father's city -- haughtiness thus
vilambamānaṁ dhvajam-anuyāna ivaindram-arcyamānam // 4.46 //
the Possessor of Ten Powers stopping and being honoured on all sides,
Nanda felt as if he were following Indra's flag.
saudaranande mahā-kāvye bhāryā-yācitako nāma caturthaḥ sargaḥ
4th canto in the epic poem Handsome Nanda, titled "A Wife's Appeal."